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<!DOCTYPE html>
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<span class="border" style="background-color:transparent;font-size:40px;color: #f7f7f7;">MUSIC</span>
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<h2>About the Pieces</h2>
<p style="margin:2em 0;">Program notes provided by the composers.</p>
<h3>Concert 1</h3>
<div class="piece" id="Vittoria">
<p class="piece_title">Geometria Vitale</p>
<p class="piece_subtitle">Fixed media</p>
<p class="composer">Gianni Dell Vittoria</p>
<p class="notes">The piece represents the concept of vital survival filtered through a geometric vision
of nature.
It is as if the vital impulses were carried to the extreme boundary between existence and
non-existence.
Technically it is built on the Bohlen_Pierce intonation, a system of pitches set to the centrality
of the 12th, rather than the 8th.
All sounds are synthesis sounds made entirely with Csound
</div>
<div class="piece" id="Rossato">
<p class="piece_title">Caged Structures IV </p>
<p class="piece_subtitle">Fixed media</p>
<p class="composer">Alessio Rossato</p>
<p class="notes">Dynamic and temporal structure of this work is inspired by the J. Cage's piece
7’10.554” for a
percussionist, specifically the electronic realization of a voice/line (A - All Others) of the
score, left
(freely) interpretable by John Cage who did not exclude a realization (freely) with
electronic/electroacoustic devices supports already in 1956... Realized the line A
“electroacoustically” usable for the performance with a percussionist (original version of the
score),
this electronic material is elaborated and re-organized to give shape to different acousmatic
pieces.
The acoustic material is modeled, redesigned and sculpted to shape new pieces with common source
material. In this way a sort of wide range of sound variations / sculptures is generated which see
material as the main focus in the relationship between space and the vibrational energy (timbre) of
sound. I then created a layering of the resulting “voices“ reaching the overlap of 28 independent
voices (Digital Tracks) divided into periods. The periods are delimited by reverberated sound events
and granulated events. My main interest is the spatial dramaturgy of music, which in this case
allowed me to work on at least three spatial planes at the same time, hoping to have created a
musical
event that would transmit a totally immersive and engaging experience.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Francioni_CLUSTER_Vfm.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<div class="piece" id="Janevska1">
<p class="piece_title">Impro Duo </p>
<p class="piece_subtitle">Instruments and Live electronics</p>
<p class="composer">Marijana Janevska & Joachim Heintz</p>
<p class="notes">This piece is an improvisation with voice and live electronics (ALMA).
Throughout the improvisation different atmospheres/moods/expressions are
built by exploring different sounds produced by the voice, like: breathing,
whispering, humming and so on, while being recorded, analyzed, transformed and
played back in different ways by ALMA. The communication and interaction
between the voice and the electronic instrument is extremely important-
they are sometimes treated like one entity, layering on top of each other
and sometimes like two opposites.
<!-- <div class="player">
<audio controls="controls">
<source src="music/Avantaggiato_Three.Miniatures.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<div class="piece" id="Balighi">
<p class="piece_title">Daramad</p>
<p class="piece_subtitle">Fixed media</p>
<p class="composer">Ali Balighi</p>
<p class="notes">In Persian, “Daramad” means to start music and also, it is a classical
form of Persian music, however, it means to learn music with a deep perspective to
theory and techniques for me. In this music, I tried to make a connection between
language from a sense point of view and fixed media as a musical atmosphere.
The relation between sopranos parts is based on rhythm, counterpoint movements,
nonmeaning words and alone letters.
This piece won the third place in the fifth international Reza Kourorian
electroacoustic composition competition, and was played in the forth tehran
international electronic music festival (TIEMF 2021)
</p>
<!--
<div class="player">
<audio controls="controls">
<source src="music/Arrell_Carnyx.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<div class="piece" id="Sosa1">
<p class="piece_title">Jazz </p>
<p class="composer">Jean-Basille Sosa</p>
<p class="piece_subtitle">Fixed media</p>
<p class="notes">Jazz, without being essentially jazz or pop, looks like yet a bit
jazz and pop music. Electroacoustic work originally composed
for the dance, it is also for the situation of the concert
situation. In its acousmatic concert version Jazz gives to hear
more distinctly the principles of an ‘electronic writing’ which
from an initial set of abstract formal ideas deploys a material
physiologically palpable, embodied to the sensory.
A specific consideration on the musical time as well as on the
rhythm perception is in the heart of this work, both popular
and abstract.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Chen_Cycle.Etude.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<hr>
<div id="concert2"></div>
<h3>Concert 2</h3>
<div class="piece" id="Francioni">
<p class="piece_title">...e sempre di mirar faceasi accesa</p>
<p class="piece_subtitle">Fixed media</p>
<p class="composer">Enrico Francioni</p>
<p class="notes">The work wants to return the sound image evoked in the mind of
the Supreme Poet who in Paradise is overwhelmed by the One who with "Amore",
"muove il sole e le altre stelle".
The crescendo corresponds to the approach to the divine [0'00"-6'26"],
to reach a blinding sound texture that I love to approach the encounter with
the Immanent [5'00"-6'26"], unspeakable state of grace suspended and suddenly
interrupted [6'26”] to lead us elsewhere; perhaps to reality [6'26"-8'00"].
In this sense the painting tries to make its own the concepts of "Inaudible"
and "Thresholds of perception", but also of continuous flow, circularity,
harmony, song and dance, the latter, well described by William Mahrt.
It is the idea of immobility that is aimed at, which implicitly underlies the
silence, here conceived not as the absence of sound, but as a state of general expectation.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Gogins_Shell.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<div class="piece" id="Yang1">
<p class="piece_title">Ganges River Empties Itself into Ocean</p>
<p class="piece_subtitle">Fixed media</p>
<p class="composer">Wanjun Yang</p>
<p class="notes">The title of the piece comes from the Buddhist classics,
Prajna Paramita Heart Sutra. Buddha said that form is emptiness and emptiness is form.
We come to the world with bare hands, spend our lives pursuing material
things and desires, and finally remain naked, taking nothing with us.
This piece uses a single Buddha singing bowl as the musical instrument,
which is one of the commonly used Dharma instruments in Buddhism.
The main sound material is the sound of strike and resonance of the
bowl, different sound modules are designed in Csound, the sound of the bowl
striking is picked up by microphone, processed in real time by digital signal processing.
The musical form of the piece is A-B-A', which expresses the process of
human being from the true nature at birth, to being lost in the material world, and then to realize
the true meaning of life.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Carneiro_Nakx.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<div class="piece" id="Lazzarini1">
<p class="piece_title">Five Short Studies </p>
<p class="piece_subtitle">Fixed media</p>
<p class="composer">Victor Lazzarini</p>
<p class="notes">1. Golgotha </p>
<p class="notes">2. Haggai </p>
<p class="notes">3. Lazarus </p>
<p class="notes">4. Virtus </p>
<p class="notes">5. Golgotha Reprise </p>
<p class="notes">These are short studies based on a recording of a sermon by Iain Paisley, exploring
resynthesis and re-characterisation of the voice from various angles.
</p>
</div>
<div class="piece" id="Yang">
<p class="piece_title">Planula</p>
<p class="piece_subtitle">Fixed media</p>
<p class="composer">Enrico Fiocco</p>
<p class="notes">Shin Kubota is a marine biologist at Kyoto University
and research on a species of jellyfish, Turritopsis dohrnii. If one
of these jellyfish is exposed to environmental stress or to physical
aggression, if it is sick or just old, it loses its tentacles, sinks
to the bottom of the sea and returns to its primitive stage, thus
forming a new colony. This process can continue indefinitely, making
this creature biologically immortal.</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Yang_911.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<div class="piece" id="Zhang">
<p class="piece_title">Kagemusha: for Live Pipa and Csound </p>
<p class="piece_subtitle">Instruments and Live Electronics</p>
<p class="composer">Ningxin Zhang</p>
<p class="notes">Inspired by Akira Kurosawa's film “Kagemusha”,
this duet for live pipa and electronics aims to depict how people
struggled in the cruelty and impermanence of ancient wars, as well
as the prosperity and end of a turbulent era. Musically, the pipa
playing and electronics are always echoing each other in the whole
piece. It starts with electronic sounds and slowly introduces the
playing of pipa. The acoustic pipa part follows traditional pipa
form and shows a variety of techniques of the left and right hand.
All the electronic sounds were generated based on the melodies played
by both acoustic pipa and Csound pipa, and were processed mainly with
Cecilia, Puremagnetik plugins and Cabbage modulation, spectral and time
effect plugins to create the dark atmosphere, the ferocious metallic
sounds of swords colliding and a state of chaos that people were suffering from.</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Kholomiov_Early.Morning.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<div class="piece" id="Conduru">
<p class="piece_title">Lightcycle</p>
<p class="composer">Niall O’Connor</p>
<p class="piece_subtitle">Fixed Media</p>
<p class="notes">The underlying aim of the piece is to use lightbulb's
as a musical instrument and to examine all the different aspects
of it by looking at the finite life cycle of a lightbulb, from
when it first gets turned on to its inevitable demise.
The different stages the lightbulb passes through would parallel stages of a
human life. The piece was originally intended as a reflection of my life at
the time and while the subject matter was open enough to allow me to explore
the usage of texture in the piece. The materials and aesthetics in the
piece draw from varying aspects of my life and present them in one overarching
theme, for example some of the electrical hum’s are based around a recording
of meat been prepared. At the time I was completing an apprenticeship in butchery as an extension of
my love for culinary arts. </p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Conduru_Fabula.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<div class="piece" id="Jagwani">
<p class="piece_title">Hope – DSPoemscape </p>
<p class="composer">Aman Jagwani</p>
<p class="piece_subtitle">Fixed Media</p>
<p class="notes">This piece is a soundscape for the poem Hope Is The Thing With Feathers by Emily
Dickinson.
It feautures the recitation of the poem with an evolving underscore supporting and creating an
immersive
atmosphere for it. It also features a harmonic and melodic composition that flows
with the ethos of the poem.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Chamorro_Videojuegos.zombies.y.otros.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<hr>
<div id="concert3"></div>
<h3>Concert 3</h3>
<div class="piece" id="Arrell">
<p class="piece_title">Seven Trumpets </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Chris Arrell</p>
<p class="notes">I was especially interested in combining digital
additive and subtractive synthesis techniques with algorithms
generating aleatoric panning processes while writing Seven Trumpets.
The result is a series of vast spectral chords that coalesce and dissolve
as their requisite frequencies fuse and diverge in time and space.
These chords, or trumpets, serve as large-scale structural pillars throughout the composition..</p>
</div>
<div class="piece" id="Tanuwidjaja">
<p class="piece_title">Spring Roll </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Irene Tanuwidjaja</p>
<p class="notes">This piece derives from one recording of a
spring rubbed along the surface and is meant as an exploration of
texture manipulated by clusters developed from the single recording.
It used granular synthesis as the main method digital alteration.</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/DelBoca_SaxGui.ogg" type="audio/ogg">
</audio>
</div> -->
</div>
<div class="piece" id="Sosa2">
<p class="piece_title">Love </p>
<p class="piece_subtitle">Instruments and Live Electronics</p>
<p class="composer">Jean-Basille Sosa</p>
<p class="notes">Initiated by Laura Muncaciu, Love is a mixed
music project for soprano and electronics based on five texts by
George Herbert (1593 - 1633), poet and English clergyman.
Like a songbook,the five poems chosen for this composition determine a
musical work in five parts that constitute a kind of testimony
of the religious path: Denial, Hope, Redemption, Virtue, Love.
</p>
</div>
<div class="piece" id="Poovey">
<p class="piece_title">Forged Effervescence </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Christopher Poovey</p>
<p class="notes">Forged Effervescence is an exploration of synthesized metals
created to showcase my modal synthesis VST Bellforge. The piece develops
on the ideas of envelope shape, resonance, and inharmonic timbre through
the transformation and juxtaposition of a large pool of sound sources
created entirely through modal synthesis..</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/DelPrete_Occupazione.dello.spazio.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Wærstad">
<p class="piece_title">Transmission Chain Experiment </p>
<p class="piece_subtitle">Instruments and Live Electronics</p>
<p class="composer">Labdi Ommes, Bernt Issak Wærstad & Alex Hoffman</p>
<p class="notes">This piece takes its title and inspiration from experiments
in cultural evolution research that are used to identify the type of
information that is more easily passed on from one person to another.
Starting from 3 solo compositions of each of the three performers, a
live Csound performance will be developed remotely. The different
compositions will be based on vocal/orutu, guitar and saxophone sounds.
Each performer sends their solo composition to one of the other collaborators
who then adds material to this foundation. Using the cosmo-dsp Csound effect
library, the material will be modified into electro-acoustic compositions.
These multi-layer tape-music recordings will then be used as source material
for a live-performance of the trio at the ICSC. Since all three performers
are based in different countries, this procedure allows them to work remotely towards a
live-performance.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Boenn_Ad.Infinitum.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<hr>
<div id="concert4"></div>
<h3>Concert 4</h3>
<div class="piece" id="Reusner">
<p class="piece_title">Ideale Landschaft Nr. 6 </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Clemens Von Reusner</p>
<p class="notes">"Ideale Landschaft Nr. 6" (engl. Ideal Landscape No. 6) was inspired by
European landscape painting of the 17th and 18th centuries and by an etching by the German artist
Ernst von Hopffgarten.
This etching was the untitled sixth part of a cycle called "Variations in G".
Although the composition is not a setting of the graphic etching, there are structural similarities.
The sound material consists of sounds created mainly with "Csound" using additive and subtractive
synthesis.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/DiLiscia_Vocalisense.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Shin">
<p class="piece_title">Nuk(넋) for Live Contrabass and Csound </p>
<p class="piece_subtitle">Instruments and Live Electronics</p>
<p class="composer">Hyunkyung (Luhee) Shin</p>
<p class="notes">The title "Nuk" is a Korean word for the soul, or spirit,
and represents a non-material and supernatural being that is considered
to govern the body and mind in a person's body. This piece is a solo song
for Contrabass. This is an approach of personal unconsciousness to the
collective unconscious, a central concept discussed in Karl Jung's analytical
psychology, a very personal but at the same time innate structural domain
that exists in a group, and a memory of tears that permeates without learning.
It can be expressed as the concept "한," and this sentiment contains both
perceptions of life and futility. The piece expresses sentiments expressed
through sound through individual emotion-level experiences, which combine
bass sounds with various effects using Csound to reveal the characteristics
of human life that cannot be expressed in a single melody.</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/DeSanctis_Al.disopra.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Cerro">
<p class="piece_title">Resemblance</p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Emiliano del Cerro</p>
<p class="notes">Resemblance is a piece designed as homage to Charles Dodge and it is related to voice
analysis processing and computer music composition.
The basic material is based on children songs and came from the idea by Noam Chomsky that describes
that children recognize the
contour and melodic patterns of his mother voice that the semantic meaning of the words
According with this theory the melodic contour of general children songs and lullabies are very
similar all over the world.
The piece is an electroacoustic work with prerecorded sound precedent from children songs, female
voice and acoustic recorder.
The main DSP algorithm used came from cross synthesis, LPC phase vocoding and shuffling of
musical motifs and sentences.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Rhoades_Second.Body.Awareness.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Cucchi">
<p class="piece_title">To The Rain </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Stefano Cucchi</p>
<p class="notes">You can hear the rain, and you can also feel the rain, the vibrations,
the flow of waves of rain and the singles drops.
The rain changes to a new life when beating on different surfaces.
The metamorphosis of sound is closely linked to different directions;
the rain can slip and wash, or fill, or soak.
The rain in something that strikes and beat externally but also
affects our inner poetic imagery, so “rain” is a starting point
for an inner journey in which every gesture is connected to an
memory of rain. “To” the rain means also asking to the rain and stay listening and wait.
<p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Heintz_SCP.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Pena">
<p class="piece_title">27 Ossos </p>
<p class="piece_subtitle">Instruments and Live Electronics</p>
<p class="composer">Luis Antunes Pena</p>
<p class="notes">27 OSSOS is a piece for one performer playing two drums with
lights, relays, sensors, piezo microphones, microcomputer and video projection.
The percussionist takes control of the whole performance playing the two drums
with his hands and also by activating the sensors that control light and sound.
Our hands have 27 bones, 33 muscles and 3 nerves but besides that they can be a
repository of information of the long life experience, of accumulated habits and
movements they stored. The starting point for the composition where the hands
both as sound producer and sound controller as well as a carrier of symbolic meaning.
The composition of the piece followed and is the result of the construction of
the instrument which includes the two drums, the video projection, the electronics
and its sensors. This piece was made in a close collaboration with Nuno Aroso.
</p>
</div>
<!-- Sunday -->
<hr>
<div id="concert5"></div>
<h3>Concert 5</h3>
<div class="piece" id="Janevska2">
<p class="piece_title">Ghost Quartet</p>
<p class="piece_subtitle">Live Electronics</p>
<p class="composer">Marijana Janevska</p>
<p class="notes">"The piece “Ghost quartet” for violin, voice and live electronics,
is connected to and inspired by Beethoven’s “Grosse Fugue” and Beckett’s
theatre play “Play”. The material is built upon the decoupling of the melodic,
rhythmical and gestural aspects of the theme of Beethoven’s fugue, while the
structure of the piece is derived from Beckett’s theatre play. The piece uses
three speakers that, together with the player, form a "ghost quartet”.
Everything that is played live is being recorded and then played by the speakers
building a kind of a double cannon, that is being more and more distorted.
There is a dialog between the violin, voice and electronics where the musical
gestures pass from one to the other, but at the same time merging into one meta-sound,
where it is difficult to distinguish what is played live and what comes from the speakers.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/DiLiscia_Vocalisense.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Heintz2">
<p class="piece_title">For Reza </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Joachim Heintz</p>
<p class="notes">Encountering a dead person. Pursuing a way to him.
A way to his music, here the beginning of Violet Room. The bells, bells, loud, persistent, thousand
years without any
change. Encountering the unbearable, perhaps that which was unbearable for him. That had no way out,
that failed, that
was too tight, that was hard, a burden, more and more burden, less and less relief, less space.
Encountering the
mercilessness of the real, the mighty, the real mighty. No, it cannot be continued. Really not.
Written to the 50th birthday of Reza Korourian (1971-2015), invited by the friends of Yarava Music
Group in Tehran,
Iran.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/DeSanctis_Al.disopra.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Simone">
<p class="piece_title">HYPNOS</p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Domenico De Simone</p>
<p class="notes">Hypnos and Thanatos, Sleep and Death. Death mirrors Sleep, because it is the latter
that interacts
with life; it is life itself, while Death represents its mirror opposite: life is mirrored in Death.
Now Hypnos
is introduced ... Thanatos can wait.
Starting from the sounds recorded on the lakeside of the town where I was born, I imagined what the
soundscape
will be in the future.
<p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Heintz_SCP.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Furia">
<p class="piece_title">The Limit of Symbiosis </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Anthony Di Furia</p>
<p class="notes">Exchange between soundscapes SAN ROMANO (Italy) – VILLE DE QUÉBEC (Canada)</p>
<p class="notes">The exchange is the sharing knowledge. Sharing a soundscape means to somehow understand
a different
environment, listening to both the diversity and the similarities in order to recognize the one in
the other.
During the compositional journey, the two soundscapes meet, merge, until the pursuit for symbiosis
and the study
of its symbolic limits. Mixing the sounds of San Romano and of the Ville de Québec, creates a sense
of profound
friendship between the two locations.
The piece was made starting from field recordings made in Qubec City (Canada) and in San Romano, a
small village
in central Italy.
The recorded materials were transformed with Csound in time (slowing down) and in frequency (Shift)
also using
glissandi lenses. The sound textures we hear are "compressions" in the frequency space. Synthetic
sounds are
used to integrate parts of the composition and are created through a simple sine wave generator.
Dedicated to Eugenio Giordani, who was my professor of electronic music, who passed away due to
covid in 2020.
</p>
</div>
<div class="piece" id="Walter">
<p class="piece_title">Artic Cave </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Jonathan Walter</p>
<p class="notes">Arctic Cave is a 1 minute and 46 second noise piece exploring the limits of noise. Made
using a
custom plugin built in Csound and Cabbage, it uses the impulse based noise generator dust2 as the
exclusive
sound source. The piece opens with simple filtered white noise setting the scene of an arctic
tundra. Over time
the noise is transformed beyond recognition into explosions, water droplets, hissing, scratching,
and alien
textures. Inspired by the works of Francisco López, Carsten Nicolai, and Luhee Shin, it paints the
picture of a
winter wanderer taking refuge in a cave as the storm outside takes its course. Using fibonacci
proportions, this
piece aims to explore and harness the musical capabilities of using noise as a sound source, and
through this,
discover how its limitations can uncover beauty.
</p>
</div>
<div class="piece" id="Jiacomini2">
<p class="piece_title">Púrpura </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Caio M. Jiacomini</p>
<p class="notes">Púrpura (“Purple”, in Portuguese) is a generative piece fully written in Csound. In my
mind I
always associated the word with the concept of blossoming and I wanted to translate that feeling
into the piece
by creating a soundscape that swells in and out like it’s breathing.
The piece consists of four instruments, Bass, Pad, Glide, and Bell, with every instrument sharing
the same basic
system for generating sound, but with their own twists. Each time an instrument plays, it selects a
random note
from the B lydian scale (within a more specific pool for each instrument), pays it for a random
duration, and
waits a random amount of time before repeating the cycle.
Púrpura is also the title track of my latest EP, consisting of 5 ambient generative pieces that
explore
different affects that can be achieved with a simple system like this one.
</p>
</div>
<div class="piece" id="Phillipe2">
<p class="piece_title">Feu! </p>
<p class="piece_subtitle">Live Electronics</p>
<p class="composer">Johann Phillipe and Jacopo Greco d’Alceo</p>
<p class="notes">Free rider of the frail skiffs, itinerant stranded, over to you... Designs so long
postponed,
expected horizon, to what comes. Our wooden ship, our iron insurrection,
Swell our joys, break howling our uprising
</p>
<p class="notes">All sails out, the shout says
</p>
<p class="notes">Fire!
</p>
<p class="notes">Feu! is a musical piece performed by duo HYDRA SUPERCLUSTER. The duo uses two
instruments : Csound
live coding and a modular synthesizer powered with Csound (through the Expert Sleepers ES-8 module)
</p>
</div>
<hr>
<div id="concert6"></div>
<h3>Concert 6</h3>
<div class="piece" id="Scarcia">
<p class="piece_title">A un Tempo </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Antonio Scarcia</p>
<p class="notes">"A un tempo" is a personal reflection on value of the Time, inspired to an Euripides'
tragedy. It
is a fixed-medium work alternating tonic and non-tonic materials organized with a hierarchical
approach. CSound
synthesis largely uses sampling technique from a wide set of samples and all its scores are
previously generated
by computer. It was first performed during the 2010 edition of the International Computer Music
Conference (at
Stony Brook NY).
The piece - although conceived as an acousmatic work - was subsequently synchronized with a video
made with
generative technique in the Processing environment; over the years it has been represented in
various events
both in the audio and multimedia version.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/DiLiscia_Vocalisense.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Larrea2">
<p class="piece_title">Action Potential </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Mateo Larrea</p>
<p class="notes">Action Potential is a 2 minutes and 32 seconds sound exploration inspired by the
revolutionary work
of Morton Subotnick. Through the use of an artificial neural network, the piece attempts to emulate
the various
voltage levels and complex textures involved in the electrical signalling of neurons. Structurally,
it is
divided into two main audible firings, several contrasting ‘failed initiations’, and instances of
aperiodic
amplitude and frequency modulation. The gestures and dynamics presented in the composition allude to
Subotnick’s
metaphor system proposed in “Until Spring” (1976), including:
</p>
<p class="notes">thrusting out <—> repolarization
</p>
<p class="notes">becoming <—> depolarization
</p>
<p class="notes">being <—> action potential (peak).
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/DeSanctis_Al.disopra.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Ferguson">
<p class="piece_title">Machair Impressions </p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Mark Ferguson</p>
<p class="notes">Machair (Gaelic; roughly pronounced ‘mah-hur’): fertile, wildflower-rich grassland
habitat found on
the northwestern coastlines of Scotland and Ireland.
Five sonic impressions, composed out of source materials gathered around the Hebridean Island of
South Uist in
August 2019:
Open grassland with red clover and knapweed, from Daliburgh to Askernish. Thistle, burdock, ragwort
and
Yorkshire fog grass internals. Great yellow bumblebee queen (reconstructed nest interior). Bumblebee
mating
activity (reconstructed nest entrance). North Atlantic surf under dark clouds, from the ancient
burial grounds
at Cladh Hallan.
The piece was constructed exclusively out of my own wildlife/nature source recordings (all made on
South Uist),
with Csound playing a pivotal role in delicately shaping sonic materials: particularly those with
strong
gestural bases. In combination with GRM Tools SpaceGrain and finely tuned Reaper EQ, a Csound
instrument with
randomly modulated granular processing parameters (largely based on randomi > grain interactions)
was used to
process contact microphone recordings of island vegetation (thistles, burdock, knapweed, etc.),
open-air
recordings of wind and grass, and rare great yellow bumblebee recordings (to create imaginary
swarms). My main
intention with the piece was to use Csound to subtly augment recorded gestural contours and create
imaginary
behaviours based on field experiences, bringing the listener down to ground or ‘great yellow
bumblebee’ level.
</p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Rhoades_Second.Body.Awareness.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Jagwani3">
<p class="piece_title">Untapped Impulse </p>
<p class="piece_subtitle">Instrument and Live Electronics</p>
<p class="composer">Aman Jagwani</p>
<p class="notes">This piece was written for live percussion, voice and synthesizers. It embodies the
spirit of
discovering and creating something new by being immersed in the moment. The concept of the piece is
to use
objects present in the performance environment, play them through percussion gestures and process
them to create
an accompaniment for a vocalist. Both the percussionist and vocalist improvise, while being guided
by the
processing to find their way to the pre-defined modern jazz fusion end section of the piece. Every
time the
piece is performed, the journey will be different depending on the space and the objects present
there, but the
destination will be the same.
<p>
<!-- <div class="player">
<audio controls="controls">
<source src="music/Heintz_SCP.ogg" type="audio/ogg">
</audio>
<p>[stereo downmix]</p>
</div> -->
</div>
<div class="piece" id="Egido">
<p class="piece_title">Homo Homini Lupus</p>
<p class="piece_subtitle">Fixed Media</p>
<p class="composer">Fernando Egido</p>
<p class="notes">This work experiments with the relations between music movement and voice recognition.
A literal
imitation of the voice is not intended, but an ambiguous one. There is an ambiguous continuity
between the vocal
timbre and timbres quite related to voice changing by morphing. To provide it, I have used a voice
synthesis
system based on format synthesis (FOF algorithm). I never use parameters set too near to the human
voice, there
is always a parameter that is different from the human voice recognition perspective. Sometimes the
voice is
reckonable, sometimes not, and this is different for each person but the patch is always the same,
depending on
how the music evolves. Sometimes the voices work together in such a way that they are heard just as
a single